We are using cookies to remember if you are logged in to this website and if you have dismissed this message. Cookies are files stored in your browser and by continuing to use our website without changing the settings on your computer you are agreeing to our use of cookies.

See what's on at Phoenix Picturehouse

In 2012 Raf Simons became the new creative director of the legendary House of Dior. Director Frédéric Tcheng followed Simons as he integrated with the many Dior stalwarts and began designing his first collection.

As well as uncovering couture’s sometimes archaic, sometimes idiosyncratic, always meticulous techniques, it’s a good-humoured film – the charming and dedicated staff are great characters. Celebrated fashionistas and fans, including Vogue editor Anna Wintour and actresses Marion Cotillard and Jennifer Lawrence, give their comments and praise. Tcheng, who has previously explored the fashion world with DIANA VREELAND: THE EYE HAS TO TRAVEL, chooses to shoot in the style of an old-school European art film. He uses a pared-down score by Ha-Yang Kim, which nicely accentuates the work in progress on Simons’s collection leading up to the runway show. Revealing and entertaining in equal measure.

A major work from the remarkable partnership of playwright and poet Bertolt Brecht and composer Kurt Weill, Mahagonny was first performed in Leipzig in 1930. Its first ever Royal Opera staging, by Associate Director of Opera John Fulljames, is sung in English, and conducted by Mark Wigglesworth – recently announced as the successor to Edward Gardner as Music Director of English National Opera.
Mahagonny is a satire on money, morality and pleasure-seeking among the dubious citizens of a fictional city. The richly varied, jazz-infused score, influenced by ragtime music, includes such irresistible melodies as the ‘Alabama Song’ and many dramatic ensembles.
The superb cast includes Kurt Streit as the wild lumberjack Jimmy, Christine Rice as his sweetheart Jenny, Anne Sofie von Otter in a welcome return to The Royal Opera as the cunning Leokadja Begbick, and Peter Hoare and Willard W. White as her helpers and fellow-fugitives Fatty and Moses.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

The latest masterpiece from the legendary Studio Ghibli is based on a tenth–century Japanese fable. A peasant discovers a miniature girl growing inside a bamboo shoot and takes her home.

She quickly grows to become the most beautiful young woman in the land, and is wooed by a series of suitors, including the Emperor himself. But it soon emerges that she is in fact exiled from the Moon, to which she is bound one day to return.

This haunting story is brought to the screen by Ghibli co-founder and genius animator Isao Takahata (GRAVE OF THE FIREFLIES), and is undoubtedly one of the studio’s finest works. Exquisitely drawn in a style that recalls washed-out Japanese watercolours, the story is spellbinding and melancholic – an instant classic.

Based on the bestseller by Ukrainian émigrée Irène Némirovsky, SUITE FRANÇAISE follows a beautiful young Parisian, Lucile Angellier (Williams, SHUTTER ISLAND), anxiously awaiting news of her prisoner-of-war husband whilst lodging with her domineering mother-in-law (Scott Thomas) in a village in Burgundy.

Already overwhelmed by the influx of refugees fleeing Paris, the locals are soon obliged to billet the occupying German troops that follow. Lucile finds herself falling for a handsome and sophisticated young officer (Schoenaerts, RUST AND BONE), leading inevitably to emotional conflict and tragedy.

The film explores the theme of women’s experience of World War II, drawn from Némirovsky’s novel and her contemporary viewpoint. In a rare move these days, director Saul Dibb shot on 35mm film, helping to create this tense, richly visual and dramatically gratifying work.

Nathan (Butterfield, ENDER’S GAME) is a shy schoolboy on the autistic spectrum, gifted at maths but socially awkward. He lives with his sweet mother (Hawkins), both of them still reeling from the sudden death of his father. When Nathan gets the opportunity to travel to Taiwan and compete in a junior maths contest, he must confront two new scenarios: mixing with other kids far from home, and not always being the smartest person in the room. It’s a simple, subtle and engaging tale, thanks to superb performances, strong characters and an undercurrent of affectionate humour that draws out the comedy in socially challenged personalities with a gentle smile and a reverence for their extraordinary talents. The result is a quietly uplifting watch, celebrating diversity and encouraging tolerance – whether for different cultures or for different minds.

After learning from her two callous but glamorous high-school pals (Skyler Samuels and Bianca Santos) that she’s regarded as the Designated Ugly Fat Friend (DUFF), studious, sharp-tongued Bianca (Whitman, THE PERKS OF BEING A WALLFLOWER) decides to seriously retaliate.

Enlisting the help of a handsome jock neighbour (Amell, The Tomorrow People) by offering to help him with his science classes, she sets about overhauling her baggy wardrobe and overcoming her boy phobia.

Based on the hit novel by Kody Keplinger – written while the author herself was still at high school – director Ari Sandel’s debut feature is a smartly acerbic take on the high-school movie, with plenty of laughs at the expense of Bianca’s social media-addicted peers, some nifty table-turning, and a lovely performance by Allison Janney (THE WAY WAY BACK) as her tipsy mother.

Bing is a groundbreaking television series for CBeebies that celebrates the noisy, joyful, messy reality of life when you’re a preschooler. Bing stories are small but they are full of the everyday dramas that all young children and the grownups in their lives will recognise.

Bing is 3 years old and, like all 3 year olds, is energetic, playful and engaged with the world around him. As he encounters new experiences, Bing’s combination of enthusiasm and inexperience can sometimes lead to small disasters! Just as Bing thinks he’s got the hang of something new, life swings back and knocks him over. However with a bit of help from Flop, his constant companion and carer, things work out okay in the end. As Flop always says: “Never mind Bing, it’s no big thing.”

Children will love joining Bing, his friends Sula and Pando and his cousins Coco and Charlie as they encounter the big stories in the tiniest moments of preschool life – whether it’s playing with shadows, making smoothies or finding a frog in the garden.

For grownups, Bing is about relating to a very young child as he or she quickly grows and develops, and about dealing with the range of new – and often challenging – behaviors that come with this development. Bing aims to explore these situations in a way that both celebrates the realities of loving a preschool child and offers up strategies for dealing with the trickier moments.

Watching together…it’s a Bing thing!
Bing and Flop are watching fireworks, playing on the swings, feeding the ducks and more in this collection of episodes.

Join Bing and his friends as they explore, play and learn together.

Fireworks

Bing and Flop are waiting for fireworks to begin, but Bing isn’t prepared for the noisy bangs.

Bye Bye

When Bing breaks something special, Flop helps him put it in the Bye Bye Box so that he can always remember it.

Swing

Bing and Flop are playing on the swings in the park when Pando arrives and wants a turn too.

Blocks

Bing is playing with his blocks when Coco and Charlie arrive and interrupt his game.

Ducks

Bing and Sula go to the park with Flop to feed the ducks, but they weren’t expecting a scary goose.

In 2012 Raf Simons became the new creative director of the legendary House of Dior. Director Frédéric Tcheng followed Simons as he integrated with the many Dior stalwarts and began designing his first collection.

As well as uncovering couture’s sometimes archaic, sometimes idiosyncratic, always meticulous techniques, it’s a good-humoured film – the charming and dedicated staff are great characters. Celebrated fashionistas and fans, including Vogue editor Anna Wintour and actresses Marion Cotillard and Jennifer Lawrence, give their comments and praise. Tcheng, who has previously explored the fashion world with DIANA VREELAND: THE EYE HAS TO TRAVEL, chooses to shoot in the style of an old-school European art film. He uses a pared-down score by Ha-Yang Kim, which nicely accentuates the work in progress on Simons’s collection leading up to the runway show. Revealing and entertaining in equal measure.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

Based on the bestseller by Ukrainian émigrée Irène Némirovsky, SUITE FRANÇAISE follows a beautiful young Parisian, Lucile Angellier (Williams, SHUTTER ISLAND), anxiously awaiting news of her prisoner-of-war husband whilst lodging with her domineering mother-in-law (Scott Thomas) in a village in Burgundy.

Already overwhelmed by the influx of refugees fleeing Paris, the locals are soon obliged to billet the occupying German troops that follow. Lucile finds herself falling for a handsome and sophisticated young officer (Schoenaerts, RUST AND BONE), leading inevitably to emotional conflict and tragedy.

The film explores the theme of women’s experience of World War II, drawn from Némirovsky’s novel and her contemporary viewpoint. In a rare move these days, director Saul Dibb shot on 35mm film, helping to create this tense, richly visual and dramatically gratifying work.

Nathan (Butterfield, ENDER’S GAME) is a shy schoolboy on the autistic spectrum, gifted at maths but socially awkward. He lives with his sweet mother (Hawkins), both of them still reeling from the sudden death of his father. When Nathan gets the opportunity to travel to Taiwan and compete in a junior maths contest, he must confront two new scenarios: mixing with other kids far from home, and not always being the smartest person in the room. It’s a simple, subtle and engaging tale, thanks to superb performances, strong characters and an undercurrent of affectionate humour that draws out the comedy in socially challenged personalities with a gentle smile and a reverence for their extraordinary talents. The result is a quietly uplifting watch, celebrating diversity and encouraging tolerance – whether for different cultures or for different minds.

Don’t miss a stellar cast led by Mark Strong (THE IMITATION GAME, TINKER TAILOR SOLDIER SPY) in the Young Vic’s "magnetic, electrifying, astonishingly bold" production of A View from the Bridge – the Evening Standard, Guardian and Independent’s top theatre pick of 2014.
The great Arthur Miller confronts the American Dream in this dark and passionate tale. In Brooklyn, longshoreman Eddie Carbone welcomes his Sicilian cousins to the land of freedom. But when one of them falls for his beautiful niece, they discover that freedom comes at a price. Eddie’s jealous mistrust exposes a deep, unspeakable secret – one that drives him to commit the ultimate betrayal.
The visionary Ivo van Hove directs this stunning production of Miller’s tragic masterpiece, broadcast from London’s West End by National Theatre Live.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

The London International Animation Festival (LIAF) returns to Kids Club this April with another spectacular selection of short animated films from around the world. They’ll make you laugh, they’ll make you think and hopefully they will inspire our next generation of animators. Definitely not to be missed and don’t forget to vote for your favourites!

Mixed Bag

A tale of greed, betrayal and cheap suitcases – and lovely, lovely cash.

Director Isabelle Favez, Switzerland

Cooked

An unlikely love triangle between a walrus, a seal and a lobster in an Arctic sauna.

Director Jens Blank, UK

The Little Bird and the Squirrel

It is autumn. There is one last colourful leaf hanging at the end of a long branch. A bird, fox and squirrel have an adventure.

Director Lena von Dohren, Switzerland

Balloona Laguna

A boy and his Father sell balloons on the streets. The business is going well until the boy gets distracted by lovely trumpet sounds from across the street.

Director Matisse Gonzalez Jordan, Germany

Wayne the Stegosaurus

Meet Wayne - he’s long and heavy, wide and tall, but has a brain that’s extra small.

Directors Aran Quinn & Jeff Dates, UK

Frabbits

A bunch of crazy creatures in a very strange land.

Director Charlie Kothe, USA

The Happy Duckling

The antics of a young boy and his struggles against a stalking duck set in a pop-up book world.

Director Gili Dolev, UK

Buenos Aires Recyclers

Dancing, joyous trash-creatures made up from litter and objects collected from the streets of the Argentinian capital.

Director Nikki Schuster, Austria

Aleksandr

A magical world hanging in the sky. The inhabitants battle with the black giant who tries to climb a stack of crystals to bring them down to earth.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

With THE WIND RISES, visionary director Miyazaki delivers his farewell masterpiece – and once again defies the conventional limitations of animation.
The life of Jiro Horikoshi, the engineer who designed the Mitsubishi A6M Zero, is hardly traditional animated fare, especially when it comes from the dreamy minds at Studio Ghibli. But as films such as PERSEPOLIS have shown, animation can be a powerful tool, even with incredibly difficult and divisive subject matter. Young Horikoshi is fascinated by flight, and dedicates his life to building flying machines. But with Japan’s entry into World War II, he begins to feel a terrible guilt because of the machines he has devised and the deaths they have caused.
This profound and beautiful film deftly combines Ghibli’s mesmerising style with an achingly beautiful love story, and asks hard questions about humanity, creation and invention.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

To rescue the small country of Freedonia from bankruptcy, Mrs. Teasdale agrees to donate 20 million dollars if Rufus T. Firefly is appointed its new president. Firefly is a cynical, sarcastic dictator who refuses to play politics by the book. For instance, he does reduce workers' hours~~by shortening their lunch breaks!

An inspirational British underdog tale in the vein of PRIDE and BILLY ELLIOT, DARK HORSE is a triumphant celebration of a working-class Welsh community and the horse they bred for glory.

In early 2000, Jan Vokes, a barmaid in the village of Cefn Fforest, somehow persuaded a syndicate of villagers to club together and buy a thoroughbred mare, have her serviced by an ageing stallion, and stable the resulting foal on a local allotment. When a prestigious horse trainer then agreed to take on the young animal, the crazy notion of breeding a racing winner began to seem a reality.

Tracing the events that followed, DARK HORSE boasts all the plot twists of the most ingeniously scripted drama, combining stunning archive footage with artful reconstructions, and capturing the thrill and beauty of the plucky horse – aptly named Dream Alliance – in action.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

A major work from the remarkable partnership of playwright and poet Bertolt Brecht and composer Kurt Weill, Mahagonny was first performed in Leipzig in 1930. Its first ever Royal Opera staging, by Associate Director of Opera John Fulljames, is sung in English, and conducted by Mark Wigglesworth – recently announced as the successor to Edward Gardner as Music Director of English National Opera.
Mahagonny is a satire on money, morality and pleasure-seeking among the dubious citizens of a fictional city. The richly varied, jazz-infused score, influenced by ragtime music, includes such irresistible melodies as the ‘Alabama Song’ and many dramatic ensembles.
The superb cast includes Kurt Streit as the wild lumberjack Jimmy, Christine Rice as his sweetheart Jenny, Anne Sofie von Otter in a welcome return to The Royal Opera as the cunning Leokadja Begbick, and Peter Hoare and Willard W. White as her helpers and fellow-fugitives Fatty and Moses.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

From its sell-out run at Manchester's Royal Exchange Theatre comes this unique and critically acclaimed production of Shakespeare's tragic Hamlet.
In this stripped-back, fresh and fast-paced version, BAFTA nominee Maxine Peake creates a Hamlet for now, giving a performance hailed as "delicately ferocious" by the Guardian and "a milestone Hamlet" by the Manchester Evening News.
Hamlet is Shakespeare’s most iconic work. The play explodes with big ideas and is the ultimate story of loyalty, love, betrayal, murder and madness.
Hamlet's father is dead and Denmark has crowned a new king. Consumed by grief, Hamlet struggles to exact revenge, with devastating consequences.
This groundbreaking stage production, directed by Sarah Frankcom, was the Royal Exchange’s fastest-selling show in a decade. Alongside Maxine Peake as the eponymous prince, a number of other roles, including Polonius and Rosencrantz, are also played by women.
Hamlet is brought to cinemas by director Margaret Williams, whose Written on Skin for the Royal Opera House/BBC won the Gramophone Contemporary Award and the Diapason d’Or, and producers Anne Beresford and Debbie Gray, the team behind the highly successful cinema broadcast of Peter Grimes on Aldeburgh Beach.

A mesmeric anthropological documentary in the vein of LE QUATTRO VOLTE and MANAKAMANA, this assured, subtle film observes a remote community in rural India who toil yearly to farm the whitest salt in an area of inhospitable desert.
Deploying a remarkably simple style of filmmaking which manages to capture the rhythms and customs of a small society, MY NAME IS SALT combines truthful human observation with moments of astonishing natural beauty.

18.15Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

11.30Big Scream: Exclusively for parents or carers with babies under the age of one.

Select:

13.45Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-members.
Subtitled Cinema: This show is in the original language and will have English subtitles

Select:

16.00Silver Screen: Aged over 60? Join the Silver Screen Club for discounted tickets and a free tea or coffee at these shows. Usual ticket prices apply to non-members.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

In Ridley Scott’s brooding, doom-laden thriller set in a spectacularly imagined future Los Angeles, a hired killer named Deckard (Ford) tracks down a group of renegade androids who have escaped from slavery on a colonised planet. Loosely based on Philip K. Dick’s paranoid masterpiece Do Androids Dream of Electric Sheep?, and undoubtedly one of the most influential sci-fi movies of all time, BLADE RUNNER was famously butchered in previous studio versions, including a so-called director’s cut that was nothing of the sort.
This ‘final cut’ is the only version over which Scott had full artistic control, and with its intense atmosphere, breath-taking visuals and lavishly eerie soundtrack by Vangelis, it’s an unforgettable big-screen experience.

Take part in this Picturehouse Cinema UK “first” as the UK’s favourite little green tractor, Tractor Ted, appears on Picturehouse Cinema big screens across the UK for the very first time!

Star of 16 DVDs and in millions of homes across the UK, Tractor Ted is full of real life farming fun!

In this latest film, Meets Baby Animals, take a tour of the farm with Fudge the dog who is full of excitement. She is desperate to show Tractor Ted the piglets all snuggled in their bed, the calves being fed and the newborn lambs in the barn. There are some exciting machines hard at work in the fields too including the JCB, tractors and a brand new telehandler is delivered to the farm. Featuring 2 new catchy tunes!

Noah Baumbach follows up FRANCES HA’s tale of arrested development with this tongue-in-cheek mid-life crisis comedy, a gently barbed meditation on the hipster generation.

Ben Stiller and Naomi Watts star as Josh and Cornelia, married 40-something New York filmmakers who befriend a cool young bohemian couple from Brooklyn, Jamie (Driver) and Darby (Seyfried). Before long, the youngsters have them in their thrall, Cornelia going hip-hop dancing with Darby while Josh gleans rejuvenating fashion tips from Jamie. But after a while the fun begins to wear off, and Josh starts to notice that Jamie may not be quite as guileless as he seems.

WHILE WE’RE YOUNG is about the concept of youth itself: a bittersweet and ultimately wise reflection on nostalgia, jealousy and self-acceptance.

Nominated for Best Foreign-Language Film in the 2015 Oscars, WILD TALES comprises six episodes linked by common themes of dark, comedic misfortune and revenge.

The first has echoes of co-producer Pedro Almodóvar’s I’M SO EXCITED! as a snotty catwalk model (María Marull) realises she has boarded a plane full of people who have also in some way maltreated an ex-boyfriend she unceremoniously dumped… and guess who’s in the cockpit?

Other segments include a surrealist road-rage showdown worthy of MAD MAX, a jealous bride causing mayhem at her wedding party, and a corrupt millionaire incensed by his equally unscrupulous lawyer. Ricardo Darín, so exceptional in THE SECRET IN THEIR EYES, appears as an explosively vengeful demolition engineer. Director Szifrón’s fast-moving narrative style packs this wickedly hilarious compendium with huge entertainment value.

To mark the film's 50th Anniversary, Breathless has been digitally restored and re-released. Godard's first feature spins a pastiche with pathos as joyrider Belmondo shoots a cop, chases friends and debts across a night-time Paris, and falls in love with a literary lady. Seberg quotes books, ideas and names, Belmondo measures his profile against Bogart's, pawns a stolen car, and talks his girlfriend into a cash loan - "just till midday". The camera lavishes black-and-white love on Paris, strolling up the Champs-Elysées, edging across café terraces, sweeping over the rooftop skyline. Mozart mixes with cool jazz riffs in the night air. More than any other, this was the film that epitomised the iconoclasm of the early Nouvelle Vague, not least in its insolent use of the jump cut.

It's 1969 at a strict English girls' school where charismatic Abbie and intense and troubled Lydia are best friends. After a tragedy occurs at the school, a mysterious fainting epidemic breaks out threatening the stability of all involved.
We are delighted to welcome director Carol Morley for a Q&A following this screening.

Returning to Rome from a war against the Goths, the general TITUS ANDRONICUS brings with him the queen Tamora and her three sons as prisoners of war. Titus" sacrifice of Tamora"s eldest son to appease the ghosts of his 21 dead sons, and his decision to refuse to accept the title of emperor, initiates a terrible cycle of mutilation, rape and murder, At the centre of the nightmare moves the self-delighting Aaron.

Rinko Kikuchi (NORWEGIAN WOOD) gives a disarmingly affecting central performance in this sweet and funny character study of a young woman who sets out on a journey in the belief that a VHS of FARGO will lead her to a large case of money.
A film about cinephilia as well as the disconnect between reality and the fantasy world of movies, Zellner's remarkably confident follow-up to 2012’s KID-THING combines the wit and warmth of the Coens with a melancholy streak entirely its own.

18.00Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.

Tom Stoppard returns to the National Theatre with his highly anticipated new play The Hard Problem, directed by Nicholas Hytner.
Hilary, a young psychology researcher at a brain-science institute, is nursing a private sorrow and a troubling question at work, where psychology and biology meet. If there is nothing but matter, what is consciousness? This is ‘the hard problem’ which puts Hilary at odds with her colleagues, who include Spike, her first mentor; Leo, her boss; and Jerry, the billionaire founder of the institute. Is the day coming when the computer and the fMRI scanner will answer all the questions psychology can ask? But meanwhile, Hilary needs a miracle – and she is prepared to pray for one.

Bedevilled by the strictures of her Iranian upbringing, Shirin (Desiree Akhavan) struggles to keep her bisexuality a secret from her family; her somewhat spiky girlfriend Maxine (Rebecca Henderson, COMPLIANCE) struggles to understand why Shirin is still in the closet.
Eventually the couple split acrimoniously, and Shirin embarks on a series of ill-advised sexual escapades while spectacularly failing at a day job given to her by stoner friend Ken (30 Rock’s fabulous Scott Adsit).
Akhavan, who also wrote and directed this highly assured debut feature, has a natural smart-tongued talent, and the overall result is an often laugh-out-loud comedy of mores and manners, set in a cosmopolitan but clearly not always liberated New York City.

As young Ivan IV is crowned, he has to choose one of the 13 Boyar daughters to be his wife and tsarina. He selects Anastasia, and the two eventually fall deeply in love. When the Boyars plot against him and poison his beloved wife, Tsar Ivan finds himself surrounded by enemies. Haunted by dark thoughts and phantoms, he slowly sinks into madness.
Drawing on the music composed by Prokofiev for the 1944 Eisenstein film, Ivan the Terrible is a work in the true Bolshoi style. Yuri Grigorovich’s powerful and fascinating epic dramatises Ivan the Terrible’s controversial reign, and portrays events in 16th-century Russia in visually stunning scenes. His choreography, full of vigour, strength and wild jumps, also includes great grace and fragility in the female roles. Sensitive classical and powerful character dance blend to create a lyrical epic, rich in the colours of medieval Russia.
Recently revived, Ivan the Terrible is an essential part of the company’s repertoire, a 20th-century classic and a wonderful theatrical experience.

A young man with a death wish and a 79-year-old high on life find love in Hal Ashby's offbeat black comedy.
Deadpan rich boy Harold keeps staging elaborate suicide tableaux to get the attention of his mother, but she keeps planning his brilliant future for him instead. Obsessed with the trappings of death, Harold freaks out his blind dates, modifies his new sports car to look like a hearse, and attends funerals – where he meets the spirited Maude.
An eccentric to the core, Maude lives exactly as she pleases, with avid collecting and nude modelling among her many pursuits. To the disgust of Harold's relatives and the befuddlement of his shrink, Harold falls in love with her.
As lilting Cat Stevens tunes play on the soundtrack, Maude teaches Harold a valuable lesson about making the most of his time on earth.

Vincent Van Gogh: A New Way of Seeing. From the Van Gogh Museum, Amsterdam.
Enjoying complete and unprecedented access to the treasures of Amsterdam’s Van Gogh Museum, this brilliant film marks both a major reshowing of the gallery’s collection and the 125th anniversary of Van Gogh’s death. Experience the wonder of these masterpieces on the big screen while specially invited guests, including world-renowned curators and art historians, offer their interpretations and explanations, including exclusive new research that has made incredible discoveries. Not to be missed.

Winner of the Un Certain Regard prize at Cannes 2014, this evocative and often acidly funny Hungarian thriller follows a young woman on a determined mission to retrieve the pet dog her father has cast out onto the streets.
Combining deft political satire, a brilliantly strange narrative and strikingly violent canine imagery, this borderline unclassifiable film is a truly unique experience on a par with other recent strangecore breakouts BLIND, THE TRIBE and THE LOBSTER.
Hungarian with English subtitles.

18.00Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.

Tom Stoppard returns to the National Theatre with his highly anticipated new play The Hard Problem, directed by Nicholas Hytner.
Hilary, a young psychology researcher at a brain-science institute, is nursing a private sorrow and a troubling question at work, where psychology and biology meet. If there is nothing but matter, what is consciousness? This is ‘the hard problem’ which puts Hilary at odds with her colleagues, who include Spike, her first mentor; Leo, her boss; and Jerry, the billionaire founder of the institute. Is the day coming when the computer and the fMRI scanner will answer all the questions psychology can ask? But meanwhile, Hilary needs a miracle – and she is prepared to pray for one.

Using the troubled singer-songwriter’s extensive archive of diary entries, home videos and drawings – several of which are here animated for additional impact – Morgen traces Cobain’s sense of isolation and self-doubt back to his upbringing and his parents’ unhappy marriage. His descent into heroin addiction after Nirvana’s early success is dealt with matter-of-factly, with his widow and fellow addict Courtney Love proving exceptionally candid.

Other interviewees include bassist Krist Novoselic, who reflects on Cobain’s musical talents as well as his 1994 suicide, and drummer Dave Grohl, who appears in archive footage. A veritable feast for fans.

Opera’s most enduring tragic double bill returns in an evocative new production from Sir David McVicar, who sets the action in two different time periods in the same Sicilian village.
Marcelo Álvarez rises to the challenge of playing the dual tenor roles of Turiddu in Cavalleria Rusticana and Canio in Pagliacci. Rae Smith (War Horse) has designed the moodily atmospheric 1900 village square setting of Cavalleria, which transforms into a 1948 truck stop for the doomed vaudeville troupe of Pagliacci.
Eva-Maria Westbroek (Cav) and Patricia Racette (Pag) sing the unlucky heroines, and Met Principal Conductor Fabio Luisi is on the podium.

Winner of the Golden Lion at Venice in 1987, AU REVOIR LES ENFANTS is a film of tremendous emotional power. In Nazi-occupied France, boarding school pupil Julien befriends a new boy. His childhood ends when Gestapo agents arrive to arrest Jewish children.

Opera’s most enduring tragic double bill returns in an evocative new production from Sir David McVicar, who sets the action in two different time periods in the same Sicilian village.
Marcelo Álvarez rises to the challenge of playing the dual tenor roles of Turiddu in Cavalleria Rusticana and Canio in Pagliacci. Rae Smith (War Horse) has designed the moodily atmospheric 1900 village square setting of Cavalleria, which transforms into a 1948 truck stop for the doomed vaudeville troupe of Pagliacci.
Eva-Maria Westbroek (Cav) and Patricia Racette (Pag) sing the unlucky heroines, and Met Principal Conductor Fabio Luisi is on the podium.

Retired hitman JOHN WICK (Reeves) is still struggling to recover from his wife’s untimely death, so when Iosef (Alfie Allen, Game of Thrones) steals his car and kills the beloved dog his wife bequeathed him, Wick is compelled to deploy his very special skills to wreak vengeance.

But Iosef’ father is Wick’s ex-boss Viggo (Michael Nyqvist, THE GIRL WITH THE DRAGON TATTOO), who promptly puts a price on Wick’s head. The fiery conflicts that ensue are viscerally realised, escalating exponentially after an ace sniper (Dafoe) and a coolly beautiful assassin (Adrianne Palicki) join the hunt for Wick for the sake of the cash.

The spectacular action, the spare script and Reeves’s twitchily taciturn performance are all perfectly judged in this awesome old-school revenge thriller.

Fille is a treasure', says Monica Mason, Director of The Royal Ballet. Anyone who has seen this sunniest of ballets will certainly agree. With its origins in a work first seen in Bordeaux in 1789, La Fille mal gardée had been staged by several choreographers in the 19th century. Frederick Ashton brought the work into the 20th century and created an instant classic which has never left The Royal Ballet's repertory. The simple story of Lise, her suitor Colas and Lise's larger-than-life mother, the Widow Simone, who tries to marry her off to the simpleton son of a rich neighbour, is full of delicious comedy but also wonderful, characterful choreography. One of the greatest pleasures of Fille is the way in which the steps, though at times devilishly difficult, never get in the way of the natural, easy storytelling. The virtuoso roles of Lise and Colas combine dazzling technique with tiny, intimate details that makes their romance touching and real, while the humour of Widow Simone and the innocent Alain, more interested in his red umbrella than Lise's charms, is delightful. Funny and touching, La Fille mal gardée is the perfect ballet for first-timers of all ages, but it is also one to which ballet-lovers will return again and again with renewed pleasure at every performance.

NIGHT WILL FALL, edited by Alfred Hitchcock and released last year, chronicled the experiences of army and newsreel cameramen filming the Allies liberating Nazi concentration camps. Now the full horrific fruits of their labours have been painstakingly assembled and digitally remastered using additional footage from the Imperial War Museum vaults. Initial scenes of the German public’s unquestioning adoration of Adolf Hitler are soon contrasted with the piteous and appalling scenes at the 14 sites covered by the camera crews, including Dachau, Belsen and Majdanek. So as to avoid possible accusations of staging by Holocaust deniers, there are lengthy panning shots of listless, emaciated inmates – some receiving their first sustenance in weeks –mass graves, and most poignantly, vast piles of suitcases, hair and teeth. A stark reminder of humankind’s capacity for inhumanity.

18.00Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.
Picturehouse Docs: Bringing you the best in new and topical documentaries covering issues around the world.

When Caesar returns to Rome from the wars a virtual dictator, Brutus and his republican friends resolve that his ambition must be curbed -- which in Rome can mean only one thing: the great general must be assassinated. But once the deed is done, the idealistic conspirators must reckon with the forces of a new power bloc, led by Mark Antony and Caesar"s nephew Octavius. When their armies close at Philippi, will Caesar"s ghost be avenged?

A mixture of absurdist, hilariously deadpan humour, shock, and utter horror. A Pigeon Sat on a Branch Reflecting on Existence presents a series of darkly comic vignettes organized around two narrative strands. In one, two hapless novelty salesmen wander around town trying to sell their inventory of vampire fangs and rubber masks, all the while bickering like an old married couple; in the other, Charles XII, Sweden"s most bellicose king, reappears in modern times to carry on his series of disastrous defeats. Shifting between nightmare, fantasy, reverie, and even an impromptu musical number, the film culminates with a blistering indictment of what Andersson presents as humanity"s stunning lack of empathy.

Fille is a treasure', says Monica Mason, Director of The Royal Ballet. Anyone who has seen this sunniest of ballets will certainly agree. With its origins in a work first seen in Bordeaux in 1789, La Fille mal gardée had been staged by several choreographers in the 19th century. Frederick Ashton brought the work into the 20th century and created an instant classic which has never left The Royal Ballet's repertory. The simple story of Lise, her suitor Colas and Lise's larger-than-life mother, the Widow Simone, who tries to marry her off to the simpleton son of a rich neighbour, is full of delicious comedy but also wonderful, characterful choreography. One of the greatest pleasures of Fille is the way in which the steps, though at times devilishly difficult, never get in the way of the natural, easy storytelling. The virtuoso roles of Lise and Colas combine dazzling technique with tiny, intimate details that makes their romance touching and real, while the humour of Widow Simone and the innocent Alain, more interested in his red umbrella than Lise's charms, is delightful. Funny and touching, La Fille mal gardée is the perfect ballet for first-timers of all ages, but it is also one to which ballet-lovers will return again and again with renewed pleasure at every performance.

A teenage boy discovers his unruly neighbour is really a disgraced Rock God who "died" 8 years ago owing a fortune in unpaid tax. The boy agrees not to reveal his secret on condition that he teaches him the dark arts of Rock Guitar.

18.15Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.

Ralph Fiennes plays Jack Tanner in this exhilarating reinvention of George Bernard Shaw’s witty, provocative classic.
A romantic comedy, an epic fairy tale and a fiery philosophical debate, Man and Superman asks fundamental questions about how we live. Jack Tanner, celebrated radical thinker and rich bachelor, seems an unlikely choice as guardian to Ann, an alluring heiress. But she takes it in her stride and, despite the love of a poet, decides to marry and tame this dazzling revolutionary. Tanner, appalled by the whiff of domesticity, is tipped off by his chauffeur and flees to Spain, where he is captured by bandits and meets the Devil.
An extraordinary dream debate between heaven and hell ensues. Following in hot pursuit, Ann is there when Tanner awakes, as fierce in her certainty as he is in his.

Aspiring filmmakers Kit Lambert and Chris Stamp were studio assistants at Shepperton in the early ’60s. Inspired by the burgeoning youth culture, they hoped to make a truthful and authentic documentary about a rock band – except they didn’t have a rock band. But then they found The Who, a proto-Mod foursome of creative misfits, and persuaded the group to let them become their managers. Despite their having zero management experience, Lambert and Stamp’s considerable tenacity and very real talent proved crucial to the rise of one of the greatest rock acts of all time.

Debut director James D. Cooper’s expertly crafted and hugely entertaining socio-musical documentary includes many of Stamp’s hilarious anecdotes, with much input from the remaining members of The Who and their contemporaries, including Chris’s actor brother Terence.

20.40Discover Tuesdays: Discover stunning cinema. Whether it's a cult classic, an art-house gem or a riveting documentary, there will always be a chance to see something different and brilliant in our weekly slot.
Picturehouse Docs: Bringing you the best in new and topical documentaries covering issues around the world.

Mike Leigh (Palme d’Or winner and five times Oscar nominee) directs his first ever opera for the stage in what is guaranteed to be a major event. Gilbert and Sullivan’s comic opera features much-loved favourites, including A Policeman’s Lot is Not a Happy One, and I Am the Very Model of a Modern Major General.

Ralph Fiennes plays Jack Tanner in this exhilarating reinvention of George Bernard Shaw’s witty, provocative classic.
A romantic comedy, an epic fairy tale and a fiery philosophical debate, Man and Superman asks fundamental questions about how we live. Jack Tanner, celebrated radical thinker and rich bachelor, seems an unlikely choice as guardian to Ann, an alluring heiress. But she takes it in her stride and, despite the love of a poet, decides to marry and tame this dazzling revolutionary. Tanner, appalled by the whiff of domesticity, is tipped off by his chauffeur and flees to Spain, where he is captured by bandits and meets the Devil.
An extraordinary dream debate between heaven and hell ensues. Following in hot pursuit, Ann is there when Tanner awakes, as fierce in her certainty as he is in his.

They are the world’s most popular artists. But why and how did they paint, and what lies behind their enduring appeal? To help answer these questions, the film has secured unique access to a major new exhibition focusing on the 19th-century Parisian art collector Paul Durand-Ruel. Durand-Ruel’s brave decision to exhibit the Impressionists in New York in 1886 kept Impressionism alive at a time when it faced complete failure. This energetic and revealing film will tell his remarkable story along with that of the Impressionists themselves.

LONDON ROAD's unmissable premiere event which will feature an exclusive post-screening Q&A with the key cast and crew, broadcast live from London.

The National Theatre show was hailed as a remarkable, groundbreaking work during its two sell-out runs. The feature-film adaptation of LONDON ROAD reunites the original award-winning team, with a script by Alecky Blythe and music by Adam Cork, and is directed by Rufus Norris (BROKEN).

LONDON ROAD documents the events that shook Suffolk in 2006, when the quiet rural town of Ipswich was shattered by the discovery of the bodies of five women. The residents of London Road had struggled for years with frequent soliciting and kerb-crawling on their street. Following the community at the epicentre of tragic events, this breathtaking film weaves the words of those that lived though the experience into an uplifting story of ordinary people coming together during the darkest of times. LONDON ROAD utilises an innovative musical score by Adam Cork, and a cast that delivers standout performances that are bold, funny and humane.

The most popular opera of all returns in one of the Royal Opera’s best-loved stagings, regularly revived since its opening night in 1974 – and now being seen for the very last time.
John Copley’s keen stagecraft and loving attention to period and dramatic detail make his production a masterpiece of realism, while Julia Trevelyan Oman’s designs evoke the atmosphere of 19th-century Paris.
Several of today’s greatest opera stars return to bid farewell to this sublime staging, notably Anna Netrebko as Mimì, and Joseph Calleja as her lover, Rodolfo. Israeli conductor Dan Ettinger conducts one of Puccini’s most emotional and melodious scores, in a revival that promises to go down in Royal Opera history.

The most popular opera of all returns in one of the Royal Opera’s best-loved stagings, regularly revived since its opening night in 1974 – and now being seen for the very last time.
John Copley’s keen stagecraft and loving attention to period and dramatic detail make his production a masterpiece of realism, while Julia Trevelyan Oman’s designs evoke the atmosphere of 19th-century Paris.
Several of today’s greatest opera stars return to bid farewell to this sublime staging, notably Anna Netrebko as Mimì, and Joseph Calleja as her lover, Rodolfo. Israeli conductor Dan Ettinger conducts one of Puccini’s most emotional and melodious scores, in a revival that promises to go down in Royal Opera history.

Hailed by the Financial Times as ‘pure magic’, Laurent Pelly’s unique interpretation of Ravel’s two short operas is a true spectacle.
L’heure espagnole is a sassy and funny sex farce; while L’enfant et les sortilèges is a touching mortality tale in which fantastical fairy tale characters, animals, furniture and crockery all come to life to teach a small boy about kindness.
Captured live at Glyndebourne’s 2012 Festival, this award-winning recording stars French mezzo-soprano Stéphanie d’Oustrac and Canadian baritone Elliot Madore.

Cleopatra, the alluring and fascinatingly ambiguous Queen of Egypt, has bewitched the great Mark Antony, soldier, campaigner and now one of the three rulers of the Roman Empire. When Antony quarrels with his fellow leaders and throws in his lot with Cleopatra, his infatuation threatens to split the Empire in two.

Probably the most popular opera in the world, Carmen scandalised its earliest audiences with its raw depiction of lust in 19th-century Seville. In the ENO’s popular production, the action is a full-on battle of the sexes, fought out in the arena of the Spanish bullring.

Opening with what is arguably the most exciting of all operatic overtures, Rossini’s final opera helped to lay the foundations of the genre of French grand opéra that dominated European stages throughout the mid-19th century.
The opera’s theme is liberty, as exemplified in the struggle against Austrian occupation led by the Swiss archer and patriot Guillaume Tell: in the opera’s most famous scene, Tell shoots an apple from his son’s head, a feat that inspires his countrymen to revolt. Rossini’s score is one of his most outstanding, and packed with glorious arias, choruses and ensembles, as those who have heard Antonio Pappano’s admired recording – which also features Gerald Finley (Tell), John Osborn (Arnold) and Malin Byström (Mathilde) – will know.
The exciting young Italian director Damiano Michieletto makes his debut with what promises to be a spectacular and thought-provoking production.

Opening with what is arguably the most exciting of all operatic overtures, Rossini’s final opera helped to lay the foundations of the genre of French grand opéra that dominated European stages throughout the mid-19th century.
The opera’s theme is liberty, as exemplified in the struggle against Austrian occupation led by the Swiss archer and patriot Guillaume Tell: in the opera’s most famous scene, Tell shoots an apple from his son’s head, a feat that inspires his countrymen to revolt. Rossini’s score is one of his most outstanding, and packed with glorious arias, choruses and ensembles, as those who have heard Antonio Pappano’s admired recording – which also features Gerald Finley (Tell), John Osborn (Arnold) and Malin Byström (Mathilde) – will know.
The exciting young Italian director Damiano Michieletto makes his debut with what promises to be a spectacular and thought-provoking production.

Everyman is successful, popular and riding high when Death comes calling. He is forced to abandon the life he has built and embark on a last, frantic search to recruit a friend, anyone, to speak in his defence. But Death is close behind, and time is running out. One of the great primal, spiritual myths, Everyman asks whether it is only in death that we can understand our lives. A cornerstone of English drama since the 15th century, it now explodes onto the stage in a startling production with words by Carol Ann Duffy, Poet Laureate, and movement by Javier De Frutos.

Affectionately known as 'The King of Waltz', André performs every year in front of thousands of fans set amongst the beautiful medieval backdrop of his beautiful home town of Maastricht, in The Netherlands. As always, André is joined by his famous Johann Strauss Orchestra, his sopranos, tenors and some very special guests. The Maastricht concerts are André's most popular concerts of the year and 2015 is shaping up to be his biggest and most spectacular concert ever to be screened in cinemas.

One of the most popular live acts in the world, André will be working his magic to present an unforgettable evening full of humour, music and emotion for every age. Be swept away with the incredible atmosphere, which attracts audiences from every corner of the globe who come together to share and experience beautiful music, song, laughter, dancing and a few tears!

When asked if André had a message for his fans around the world, he said: "I am so delighted that my hometown Maastricht concert will once again be coming to cinemas in July! It's going to be an incredible evening - and I can promise you it will be a musical night to remember. If you can't join us in Maastricht, we will come to you, in your local cinema."

As always, CinemaLive's programme will feature a host who will introduce the show as well as conduct an interview with André the moment he steps off stage, exclusively for cinema audiences.

The concert is approximately 3hrs including a 15 minute interval. Spoken parts in English and Dutch with some English subtitles supplied. The satellite delivered concert is recorded several days prior to the cinema screening, during André Rieu's 2015 Maastricht Concert summer season.

Mozart’s take on the glittering Orient: a stirring tale of abduction, escape and forgiveness.
Live from Glyndebourne – the home of Mozart – comes a new production of Die Entführung aus dem Serail (The Abduction from the Seraglio), the opera in which the 25-year-old composer is often said to have found his mature voice.
Both a popular comedy and a compassionate Enlightenment drama, Entführung tells the story of one man’s attempt to rescue his beloved from the harem of a Turkish despot and his fall to the mercy of his nemesis.The opera’s East/West clash and its surprising resolution defies all stereotypes and strikes a startlingly contemporary chord.
Directed by Glyndebourne favourite David McVicar (Die Meistersinger von Nürnberg, Giulio Cesare) and conducted by Music Director Robin Ticciati, this new production features a stellar cast including Sally Matthews as Konstanze, Edgaras Montvidas as Belmonte, Tobias Kehrer as Osmin and Mari Eriksmoen as Blonde.

In the melting pot of Venice, trade is God. With its ships plying the globe, the city opens its arms to all, as long as they come prepared to do business and there is profit to be made. With the gold flowing all is well, but when a contract between Bassanio and Shylock is broken, simmering racial tensions boil over. A wronged father, and despised outsider, Shylock looks to exact the ultimate price for a deal sealed in blood. Polly Findlay (Arden of Faversham 2014) directs Shakespeare"s uncompromising play.

Fiona Shaw’s award-winning production of a dark British masterpiece.
Britten’s extraordinarily tense and chilling treatment of this historic tale is explored in a brilliant production by Fiona Shaw, best known as an actress in films such as Harry Potter and TV series including True Blood. Lucretia is a model of fidelity among Roman wives until the Etruscan prince Tarquinius, provoked by his Roman army comrades, gallops back to Rome to ruin her virtue.
Described as ‘opera at its most nakedly powerful’ by the Daily Telegraph, this production live from the 2015 Glyndebourne Festival will be conducted by Leo Hussain and performed by some of the most exciting British singers on stage today, including Christine Rice, Kate Royal, Allan Clayton and Duncan Rock.

Othello is the greatest general of his age: a fearsome warrior, loving husband and revered defender of Venice against its enemies.
But he is also an outsider whose victories have created enemies of his own, men driven by prejudice and jealousy to destroy him. As they plot in the shadows, Othello realises too late that the greatest danger lies not in the hatred of others, but in his own fragile and destructive pride.
After more than a decade working in film and television on projects from STAR WARS to Holby City, Hugh Quarshie returns to the RSC to play Shakespeare's Othello. He was last seen with the RSC in Faust and Julius Caesar (1996). He will play opposite Lucian Msamati (Game of Thrones) as Iago, returning to the RSC following his role as Pericles in 2006. The production is directed by Iqbal Khan (Much Ado About Nothing 2012).

Academy Award® nominee Benedict Cumberbatch (BBC’s Sherlock, The Imitation Game, Frankenstein at the National Theatre) takes on the title role of Shakespeare’s great tragedy.

Directed by Lyndsey Turner (Posh, Chimerica) and produced by Sonia Friedman Productions, National Theatre Live will broadcast this eagerly awaited production live to cinemas.

As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state.

Academy Award® nominee Benedict Cumberbatch (BBC’s Sherlock, The Imitation Game, Frankenstein at the National Theatre) takes on the title role of Shakespeare’s great tragedy.

Directed by Lyndsey Turner (Posh, Chimerica) and produced by Sonia Friedman Productions, National Theatre Live will broadcast this eagerly awaited production live to cinemas.

As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state.

Henry IV is dead and Hal is King. With England in a state of unrest, he must leave his rebellious youth behind, striving to gain the respect of his nobility and people.
Laying claim to parts of France and following an insult from the French Dauphin, Henry gathers his troops and prepares for a war that he hopes will unite his country.
RSC Artistic Director Gregory Doran continues his exploration of Shakespeare’s History Plays with Henry V performed in the 600th anniversary year of the Battle of Agincourt. Following his performance as Hal in Henry IV Parts I & II Alex Hassell returns as Henry V.

Academy Award® nominee Benedict Cumberbatch (BBC’s Sherlock, The Imitation Game, Frankenstein at the National Theatre) takes on the title role of Shakespeare’s great tragedy.

Directed by Lyndsey Turner (Posh, Chimerica) and produced by Sonia Friedman Productions, National Theatre Live will broadcast this eagerly awaited production live to cinemas.

As a country arms itself for war, a family tears itself apart. Forced to avenge his father’s death but paralysed by the task ahead, Hamlet rages against the impossibility of his predicament, threatening both his sanity and the security of the state.